Pair of 18 karat gold, platinum, jade, enamel, ruby and diamond earclips, David Webb. Photo Sotheby's

Centered by two carved and pierced jade plaques, accented by two cabochon rubies measuring approximately 8.5 by 6.5 mm, further set with round diamonds weighing approximately .90 carat, highlighted with black enamel, signed Webb. Estimation 5,000 — 7,000 USD 

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Pair of platinum, 18 karat gold, jade, ruby and diamond earclips, Cartier. Photo Sotheby's 

Centering two jade cabochons measuring approximately 7.7 by 5.8 mm and 7.6 by 5.7 mm, framed by calibré-cut rubies, bordered by round diamonds weighing approximately 2.05 carats, signed Cartier, numbered 865378. With two signed pouches. Estimation 6,000 — 8,000 USD 

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Platinum, jade and diamond pendant-brooch. Photo Sotheby's 

The carved jade pendant with foliate motifs accented by round, baguette and old European-cut diamonds weighing approximately .65 carat, fitted with pendant loop; circa 1925. Estimation 25,000 — 35,000 USD 

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Platinum, jade, diamond and onyx ring. Photo Sotheby's

Centering a jade cabochon measuring approximately 14.1 by 11.6 by 6.4 mm, set with baguette diamonds weighing approximately .50 carat, with four calibré-cut onyx segments, size 9. Estimation 20,000 — 30,000 USD

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Pair of platinum, jade, diamond and enamel pendant-earrings. Photo Sotheby's

Suspending two oval-shaped carved jade plaques within frames applied with black enamel, topped by two fluted jade beads, accented by small rose-cut diamonds. Estimation 7,500 — 10,000 USD

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Pair of white gold, jadeite, onyx and diamond pendant-earrings. Photo Sotheby's

The two jadeite discs suspended by six onyx rings, topped by two faceted onyx beads, accented by round diamonds weighing approximately .45 carat. Estimation 6,000 — 8,000 USD

Accompanied by GIA report no. 5151566111 stating that the jadeite has indications of impregnation.

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Pair of gold, jade, pearl and diamond earrings. Photo Sotheby's

The two carved jade plaques measuring approximately 38.2 by 14.0 mm and 37.9 by 14.1 mm, suspended from gold chains set with two baroque pearls, topped by two round diamonds weighing approximately .70 carat. Estimation 5,000 — 7,000 USD 

Please note that the pearls have not been tested for natural origin.

Sotheby's. Important Jewels. New York | 06 févr. 2014 - www.sothebys.com

Roberto Migotto, APARTAMENTO SÃO PAULO XVII

Cuprian Adamite, Tsumeb Mine, Tsumeb, Namibia

Adamite from Utah

Adamite from Namibia

Cuproadamite from Tsumeb, Namibia

Jewellery created by René Lalique between 1898 and 1904. Image by: Sotheby’s

A folding miniature portrait holder containing pictures of Alexander III, Maria Feodorovna's children and their dates of birth. Image By: Sotheby's

An imperial diamond jewel from the mid-18th century. Image by: Sotheby's

The Grand Duchess Elizabeth with a lady-in-waiting in 1897.

During his 1896 coronation, Nicholas II gave Grand Duke Vladimir this Fabergé box. Image by: Sotheby's

A handwritten note from Nicholas II, which reads: ‘Alix and I ask you to accept this small present as a souvenir of this day. Nicky.’ Image by: Sotheby's

A diamond and sapphire brooch, with an oval sapphire in the centre and a double border of cushion-shaped diamonds, and a pair of en-suite earrings. Image by: Sotheby's

This Fabergé cigarette case by Michael Perkhin was created to commemorate the wedding of the Grand Duchess Elena and Prince Nicholas in 1902. Image by: Sotheby's

A portrait miniature of the Empress Maria Feodorovna by Zehngraf features pearls set in a heart-shaped portable frame decorated with enamel designed by Fabergé. Image by: Sotheby's

Created by August Holmström, this richly decorated Neoclassical case features flowers and swags in four colours of gold. Image by: Sotheby's

A Roccoco-style case covered in translucent chartreuse enamel with a wave decoration incorporating diamond scrolls. Image by: Sotheby's

A rare 1890 case by Michael Perkhin with mother-of-pearl and gold, circa 1890. Image by: Sotheby’s

A devant de corsage from a parure. The oval aquamarines could be detached to serve as brooches, and the pendant could also be worn separately. Image by: Sotheby's

The Régent pearl. Image by: Sotheby's

Earrings set with pear-shaped diamonds, weighing 14.25 and 20.35ct. They are said to have been owned by Queen Marie Antoinette. Image by: Sotheby’s

A unique devant de corsage-cum-necklace in pearls, enamels and diamonds, with the monogram of Marthe Lucile Bibesco by a crown. Image by: Sothebys

During the coronation of Nicholas II, the Dowager Empress Maria Feodorovna wears the small imperial crown. Image by: Sotheby's.

'The Jewels of the Romanovs, Family & Court' by Stefano Papi. Essay by Prince Michel de Bourbon Parme. Thames & Hudson ISBN 9780500517062 - http://www.thamesandhudson.com/The_Jewels_of_the_Romanovs/9780500517062

Revised and expanded edition published to coincide with the 400th anniversary of the founding of the Romanov dynasty

The Romanovs ruled Russia from 1613 to 1917, when the Revolution brought their reign to an abrupt end. The late nineteenth and early twentieth centuries were a time of elegance and extravagance for the tsars and the wealthy families with whom they were linked by marriage, and nowhere are these lavish tastes more apparent than in the imperial jewels. 

Every jewel tells a story. Through his extensive research, Stefano Papi has spent years unravelling the mysteries of Russian imperial jewelry. He has identified pieces with little or unknown provenance, and uncovers the fascinating stories behind the jewels and the people who wore them. He takes us through the golden years, and – after the Revolution – he follows the survivors of the Romanov line, and their jewelry, in European courts and in Paris, where many exiles sought refuge.

Stefano Papi, a Graduate Gemologist of the Gemological Institute of America, has worked as Senior European Specialist in the jewelry departments of both Sotheby’s and Christie’s. He has written several books, including Stage Jewelsand Jewellery of the House of Savoy, and is co-author with Alexandra Rhodes of20th Century Jewelry and the Icons of Style.

JAR Hellebore Brooch in its Snowball Box, 2004. Courtesy of the Metropolitan Museum of Art

JAR Wave Brooch, 2006. Courtesy of the Metropolitan Museum of Art

JAR Ribbon Earrings, 2012. Courtesy of the Metropolitan Museum of Art

JAR. Cameo and Ruby Rose Petal Brooch, 2011. Courtesy of the Metropolitan Museum of Art

 LONDON.- On 23 January 2014, Sotheby’s London will present Of Royal and Noble Descent, a sale featuring royal and aristocratic heirlooms from important European dynasties. Spanning centuries of history, these works of art, precious objects and mementoes are not only testament to the bygone splendour of European courts, they also give a fascinating glimpse into the lives and sometimes extravagant tastes of their royal and noble owners. 

Discussing the forthcoming sale, Heinrich Graf von Spreti, President Sotheby’s Germany, said: “Having survived through inheritance, these treasures from palaces and historic houses have never been seen by the general public and their appearance at auction offers a unique opportunity for discerning collectors to acquire them.” 

Highlights in the sale include:

KING WILHELM I OF WÜRTTEMBERG ORMOLU & CUT‐GLASS SÛRTOUT DE TABLE This spectacular surtoût de table (was probably made on a special request from the Württemberg Court in Germany for one of the three main events in King Wilhelm’s life between 1816 and 1820. On 24 January 1816, Wilhelm celebrated his second marriage to his first cousin, Grand Duchess Catherine Pavlovna of Russia (1788–1819), daughter of Tsar Paul I of Russia. Later that year, on 30 October, he was crowned King Wilhelm I of Wurttemberg and reigned until his death on 25 June 1864. In April 1820, after the death of Catherine, King Wilhelm I married Duchess Pauline Therese of Wurttemberg (1800–1873). The five lots making up the surtoût de table garniture carry a combined estimate of £86,000‐136,500 (€100,500‐159,600). 

A five section ormolu and cut-glass surtout de table, circa 1820, attributed to Klinckerfuss and Münch. Photo Sotheby's

of rectangular form with rounded ends, glazed plates and pierced sides decorated with diamond cut-crystal and ormolu medallions between anthemion flower holders, medallions and frieze finely cast in relief with paterae, the double gryphon feet below a breakfront frieze cast in relief with trophies, one of the sections with a label underneath explaining in hand written French how to handle the sûrtout. Estimate 25,000 — 40,000 GBP

PROPERTY OF A GERMAN PRINCELY FAMILY

Provenance: King Wilhelm I of Wurttemberg
Thence by descent

Note: The Württemberg Court style was strongly influenced by the ‘goût Empire‘ which under Emperor Napoleon Bonaparte from circa 1800 onwards, became the official state style. The main inventors and major proponents of this style were the neoclassical French architect, interior decorator and designer Charles Percier (1764-1838) in close partnership with his friend Pierre François Léonard Fontaine (1762-1853). As most of the main artists and workshops were based in Paris many things for the Württemberg court were directly ordered there and usually only from the best producers such as Pierre-Philippe Thomire (1751 – 1843). Furthermore the Württemberg Court also employed its own artists who developed and promoted the local version of the Empire style; such as the German architect and painter Nikolaus Friedrich von Thouret (1767-1845), who was court (mainly interior) architect to King Friedrich I von Württemberg and Johannes Klinkerfuss who was court furniture maker to King Wilhelm. As the Württemberg Court of course also needed many special commissions it may be assumed that on various occasions the local artists produced designs which were then probably executed in Paris, as is the case with some of the table decorations in this sale.

The elaborate use of the ormolu and cut crystal medallions can be found – although in a much more restrained fashion – on some Russian, German and French Empire chandeliers but seems to be unique for a sûrtout. This was probably made on special demand from the Württemberg court to match the other ormolu and crystal table decorations and therefore most likely attributable to Johann Klinckerfuss.

A set of three Empire ormolu centrepieces circa 1820, by Thomire. Photo Sotheby's

comprising a large centrepiece with three figures and two smaller ones with two figures, each modelled with classically-draped dancing Bacchic maidens holding a staff and supporting a pierced basket decorated with vinery, the circular plinth decorated in relief with putti, garlands and acanthus, each signed Thomire a Paris; 55,5cm. high, 1ft.10in. Estimate 25,000 — 40,000 GBP

PROPERTY OF A GERMAN PRINCELY FAMILY

A pair of Empire ormolu and cut-glass sculptural étagères circa 1816-20, by Thomire. Photo Sotheby's

each modelled with classically-draped music making maidens, on a circular base decorated in relief with bunches of grapes, both signed Thomire a Paris. Estimate 10,000 — 15,000 GBP

PROPERTY OF A GERMAN PRINCELY FAMILY

PROPERTY OF A EUROPEAN RULING FAMILY

An Italian ebony and hardstone inset cabinet‐on‐stand, second half 19th century. Est. £40,000‐60,000 (€48,100‐72,500)

Once in the collection of SAR la Grande‐Duchesse Josephine‐Charlotte de Luxembourg (1927‐2005), this impressive cabinet evokes the celebrated production of the Opificio delle Pietre Dure founded in Florence in 1588 by the Grand Duke Ferdinand I de Medici. 

An Italian ebony and hardstone inset cabinet-on-stand, second half 19th century. Photo Sotheby's

the architectural break-front upper structure incorporating a clock with brass chapter ring, flanked by gilt bronze statuettes of Roman soldiers, above an arrangement of drawers and retractable compartments, the panelled sides with inlaid brass banding, the front overall elaborately inlaid with shaped pietre dure and marble plaques including lapis lazuli, bianco, rosso e giallo antico, alabaster and onyx; supported on an ebonised sphinx stand; 275cm. high, 192cm. wide, 59cm. deep; 9ft., 6ft. 3½in, 1ft. 11in. Estimate 40,000 — 60,000 GBP

PROPERTY OF A EUROPEAN RULING FAMILY

Provenance: Philippe and Marie-Louise Count and Countess of Flandres, Palace Rue de la Régence, Brussels
SAR la Grande-Duchesse Joséphine-Charlotte de Luxembourg (1927 - 2005) by bequest

Note: This cabinet evokes the celebrated production of the Opificio delle Pietre Dure founded in Florence in 1588 by the Grand Duke Ferdinand I de’ Medici. It became renowned for the distinctive use of various hardstones and semi-precious stones such as lapis lazuli, agate, chalcedony, malachite, etc, usually inset in ebony structures, creating stunning contrasts.
17th century cabinets of architectural design and with a dazzling array of pietre dure, existing in the Grand ducal workshops in the 19thcentury, were the inspiration for a number of revival pieces produced both in the Opificio, but also in other Florentine workshops by makers such as Pasquale Leoncini and Andrea Picchi.

The present lot, with its impressive scale and design, fits in the context of that production, being sold in Florence to an increasing flow of wealthy tourists, visiting the recently unified Italy. Nevertheless, pietra dura cabinets maintained their status as great art trophies and kept attracting the grand European families as they did in the 17th and 18th century.

MOST PROBABLY OFFERED BY THE GERMAN EMPEROR WILHELM II TO THE TURKISH SULTAN ABDUL HAMID II

A German Imperial gilt bronze and cloisonné enamel mounted ebony and satin birch coin collector’s Cabinet, circa 1890. Attributed to Ravené& Sussman‐Hellborn, Berlin. Est. £6,000‐9,000 (€7,300‐10,900)

It has been suggested that this fine cabinet was made as an intended gift from the German Emperor Wilhelm II (1859‐1941) to the Turkish Sultan Abdul Hamid II (1842‐1918). From the start of his reign Wilhelm II closely befriended the Sultan and visited him in Istanbul on three occasions in 1889, 1898 and 1917. The presence of the Imperial coat‐ofarms and the rather abundant Oriental style seems to support this theory. 

A German Imperial gilt bronze and cloisonné enamel mounted ebony and satin birch coin collector’s Cabinet, circa 1890. Attributed to Ravené& Sussman‐Hellborn, Berlin. Photo Sotheby's

the door mounted with fine gilt-bronze and cloisonné enamel plaques with elaborate Islamic style decoration and with a central medallion with the German Imperial coat-of-arms, opening to reveal nine sliding shelves and two drawers, one with springed brass compartments, one drawer containing a gold-wax rod, the sides with carrying handles; 49cm. high, 25.5cm. wide, 17cm. deep.; 19¼in, 10in., 6¾in. Estimate 6,000 — 9,000 GBP

Note: It has been suggested that this fine cabinet was made as an intended gift from the German Emperor Wilhelm II (1859-1941) to the Turkish Sultan Abdul Hamid II (1842-1918). From the start of his reign Wilhelm II closely befriended the Sultan and visited him in Istanbul on three occasions in 1889, 1898 and 1917. The presence of the Imperial coat-of-arms and the rather abundant Oriental style seems to support this theory.

Louis Sussmann-Hellborn (1828-1908) trained as a sculptor at the Berlin Academy of Arts. He travelled to study in France, Belgium, England and lived In Rome from 1852 to 1856. The first major exhibition of his works was organized in Berlin in 1856. His villa at Tiergarten was one of the most representative buildings of the district and made him famous amongst the Berlin intellectuals. He was one of the founders of the Royal Museum of Decorative Arts and was also involved in building a sculpture collection at the Royal Museum in Berlin. From 1882 to 1887, Sussmann-Hellborn was head of the Royal Porcelain Manufactory (KPM) in Berlin. In 1868 together with Louis Ravenné Sussmann, he founded the Bronze- und Emaillewarenfabrik Ravené& Sußmann in the Wallstraße 7 in Berlin; a company which specialised in the production of high quality luxury objects - usually in a more restrained Orientalist style - until their closure around 1890.

PROPERTY OF A DUTCH NOBLEMAN

Vatican Mosaic Studio, Rome, circa 1735‐1750, after Guido Reni (1575‐1642), St. Peter in prayer. Est. £50,000‐80,000 (€60,500‐96,500)

Due to their high intrinsic value and powerful religious imagery, the mosaics of the Vatican Workshops became the diplomatic gifts of choice of a series of 18th‐century Popes. This practice gives credence to the story that the present mosaic was given to the ancestors of the present owners, Joannes Baptista and Paul Jacob Cloots, powerful merchants active in Amsterdam, Antwerp and Lisbon, who were ennobled by King Philip V of Spain in 1718 and made Barons by Emperor Charles VI in 1725. 

Attributed to Filippo Cocchi, Vatican Mosaic Studio, Rome, circa 1735‐1750, after Guido Reni (1575‐1642), St. Peter in prayer Photo Sotheby's

mosaic, in a gilt wood frame; panel: 74 by 59.5cm., 29¼ by 23 3/8 in.; frame: 102 by 88cm., 40 1/8 by 34¾in. Estimate 50,000 — 80,000 GBP

PROPERTY OF A DUTCH NOBLEMAN

Provenance: by repute, Joannes Baptista and Paul Jacob Cloots, circa 1718-1725;
and thence by family descent to the present owner

Note: In the 18th century the Vatican Workshops produced magisterial mosaics after well-known Baroque paintings by the likes of Guido Reni, Domenichino, Carracci and Poussin. Hardstone tesserae carefully selected for their gradation in colour were cut and arranged in such a way that the chiaroscuro effects of the original paintings was reproduced faithfully. Thusly a durable surface was created that is barely distinguishable from the painting at a distance and that only reveals it is made of the finest available stones upon closer inspection.

The present mosaic is based on a painting of Saint Peter in Prayer by Guido Reni which is currently kept in the State Hermitage Museum in Saint Petersburg. Another rendering of this picture in mosaic was recently presented in Maastricht by Di Castro Antichita from Rome and was accompanied by a note by Alvar Gonzalez-Palacios that convincingly attributes that mosaic to the Vatican Workshops and dates it to the second quarter of the 18th century. Most notable are the comparisons with a mosaic representing Czarina Elizabeth II signed by Alessandro Cocchi in the Hermitage. The finesse with which the tesserae of the present mosaic were cut and placed equally suggests that our mosaic was produced by one of the Vatican's foremost artists.

Due to their high intrinsic value and powerful religious imagery, the mosaics of the Vatican Workshops became the diplomatic gifts of choice of a series of 18th century Popes. Pope Clement XII, for example, presented an Ecce Homo and a Praying Virgin to Maria Amalia of Saxony as she travelled through Rome on her way to her wedding to the King of Naples in 1738, and Pius VI ordered an Allegory of Poetry for Princess Sophia Albertina of Sweden in 1793. This practice gives credence to the story that the present mosaic was given to the ancestors of the present owners, Joannes Baptista and Paul Jacob Cloots, powerful merchants active in Amsterdam, Antwerp and Lisbon, who were ennobled by King Philip V of Spain in 1718 and made Barons by Emperor Charles VI in 1725.

RELATED LITERATURE: E. Baccheschi, L'Opera completa di Guido Reni, Milan, 1971, p. 111, no. 187; A. Gonzales-Palacios, The art of mosaics. A selection from the Gilbert collection, exhib. Cat. Los Angeles County Museum of Art, 1977, p. 40, no. 11; A. Gonzales-Palacios, Arredi e ornamenti alla corte di Roma, Milan, 2004, p. 318

PROPERTY FROM THE DUTCH NOBLE CALKOEN FAMILY

Johann Christian Vollerdt (Leipzig 1708 ‐ 1769 Dresden), A Winter landscape with figures skating on a river, a windmill beyond, 1754. Est. £15,000‐20,000 (€18,100‐24,100)

This oil on canvas was commissioned directly from the German landscape painter Johann Christian Vollerdt by the great Dutch diplomat Cornelis Calkoen (1696‐1764). Together with four other lots in the sale, this work was originally part of the famous collection formed by Cornelis Calkoen in the mid‐18th century and has remained in his family ever since. All these paintings were painted in Dresden, where Calkoen was the Dutch ambassador between 1744 and 1761 to the court of Augustus the ‘Strong’, Elector of Saxony and King of Poland.

Johann Christian Vollerdt (Leipzig 1708 ‐ 1769 Dresden), A Winter landscape with figures skating on a river, a windmill beyond, 1754. Photo Sotheby's

signed and dated lower left: Vollerdt p 1754; oil on canvas; 62 by 76 cm.; 24 3/8 by 29 7/8 in. Estimate 15,000 — 20,000 GBP

PROPERTY FROM THE DUTCH NOBLE CALKOEN FAMILY

Provenance: Commissoned directly from the artist by Cornelis Calkoen (1696-1764);
Thence by descent.

MINIATURE MODEL COMMEMORATING THE DEFEAT OF NAPOLEON AT THE BATTLE OF LEIPZIG

By August Wilhelm Sause German, Leipzig, 1813. Est. £60,000‐90,000/ €72,500‐109,000

The Battle of Leipzig in October 1813 was a decisive blow to Napoleon’s war effort and therefore it is regarded as a turning point in the lead‐up to the emperor’s final defeat at Waterloo in June 1815. The victory resulted in the liberation of Germany on the right bank of the Rhine and is remarkable for the union of all of Napoleon’s opponents on the eve of the battle. 

This present miniature monument in ivory and amber consists of three canopies supported by slim columns: the lower tier with Tsar Alexander I of Russia, Emperor Francis I of Austria and King Frederick William III of Prussia holding hands to symbolize their federation, the countenances of the commanders Wellington, Wittgenstein, Schwarzenberg and Blucher are reproduced under the middle canopy, and God’s eye within a corona, symbolising the Holy Alliance, is at the top. 

August Wilhelm Sause (German, Leipzig, 1813), Miniature model commemorating the defeat of Napoleon at the battle of Leipzig. Photo Sotheby's.

PROPERTY FROM MEMBER OF A SOUTH GERMAN ROYAL FAMILY

A 19th‐century Royal children’s carriage. Est. £5,000‐7,000 (€6,100‐8,500) This exquisite piece was made for Prince Adalbert (1828‐1875), the youngest son of Ludwig I, King of Bavaria and future uncle of Ludwig II, widely‐known as the creator of many romantic castles such as Neuschwanstein and as the most important patron of the composer Richard Wagner. 

A Royal children’s carriage, 19th century. Photo Sotheby's

with retractable leather top and with painted coat-of-arms of the House of Wittelsbach on blue ground; 82cm. high, 170cm. wide, 54cm. deep; 2ft. 8in., 5ft. 7in., 1ft. 9½in. Estimate 5,000 — 7,000 GBP

PROPERTY FROM MEMBERS OF A SOUTH GERMAN ROYAL FAMILY

Provenance: Prince Adalbert of Bavaria
Thence by descent

A hardstone and gem-set 'bird' brooch by JAR Paris. Photo courtesy Christie's.

Designed as a carved hardstone head of a falcon within a circular citrine and yellow garnet surround, made in 1997.

A pair of gold and amber ear clips by JAR Paris. Photo courtesy Christie's.

Each of circular design, set with a large cabochon amber, enhanced by engraved gold dot detail, mounted in 18k gold.

Pair of emerald, beryl and diamond ball earclips, by JAR Paris. Photo courtesy Christie's.

A fine pair of diamond and pearl ear clips, by JAR Paris. Photo courtesy Christie's.

A pair of sapphire, oriental pearl and diamond ear clips, by JAR Paris. Photo courtesy Christie's

A pair of multi-coloured sapphires and natural pearl ear clips, by JAR Paris. Photo courtesy Christie's.

Each designed as a lozenge set with four lozenge-shaped coloured sapphires and nine natural pearls, one set with two sapphires, one yellow and one light abricot-coloured sapphire, the other set with one sapphire, one yellow sapphire and two light abricot-coloured sapphires, made in 1982.

 A pair of ruby, pearl and diamond ear clips by JAR Paris. Photo courtesy Christie's. 

Each designed as a bombé fleur-de-lis, pavé-set with rubies, within a circular-cut diamond border, terminating with a natural pearl drop, measuring approximately 10.70 and 10.90 mm, mounted in silver and 18k rose gold.

Joseph Wright of Derby, Portrait of Elizabeth Balguy, c. 1783. Oil on canvas, 76.2 by 63.5 cm

BATH.- A fine and elegant portrait by Joseph Wright of Derby (1734-1797) has been gifted to the Holburne Museum under the Cultural Gifts Scheme introduced by the UK Government last year. This is the third gift under this major initiative to encourage philanthropy to UK cultural institutions. 

The work is the first painting by Wright, one of the most significant 18th century British artists, to be acquired by the Holburne Museum in Bath where the artist lived and worked between 1775 and 1777. The portrait is a notable work by Wright, painted at a time when the artist was at the height of his artistic powers. The portrait is of Elizabeth Balguy (1756-1821) who in 1781 married John Balguy, a lawyer and member of a long-established family in Derbyshire. Wright lived near to the Balguys in Derby and as the artist's father and brother were also lawyers it is highly likely he would have known the family well. 

Between 1780 and 1783 Wright painted a number of portraits and narrative paintings using a similar pose where the sitter's hand touches her face, however, pure profile portraits such as this were generally reserved for sovereigns, famous men or the deceased. For Wright to paint a woman like this was unusual and is the only known instance in Wright's oeuvre. 

The portrait is being gifted to the nation by David Posnett OBE, who was Chairman of the Holburne Museum between 2000 - 2013 and is on public display at the Museum. 

The Holburne Museum houses one of the finest collections of British portraiture outside of London and this painting fills a significant gap in its collection of 18th century art. 

David Posnett, said: "With one of the finest collections of 18th century portrait paintings outside London, it was a travesty that the Holburne did not possess any example by one of England's most beautiful painters, Joseph Wright of Derby, whose very individual work, largely carried out in Derby and for a short period in Bath, as the Holburne's forthcoming exhibition demonstrates, had a profound effect on me. 

"So here, under the new Cultural Gifts Scheme, was an opportunity for me to rectify this absence and at the same time commemorate my chairmanship of the Holburne - one of the most rewarding times of my life - and in doing so I hope to encourage others to make similar gifts under the scheme" 

Ed Vaizey, Culture Minister, Department for Culture, Media and Sport, said: "This latest donation under the Cultural Gifts Scheme is great news, particularly as its new home at the Holburne Museum in Bath is where Joseph Wright lived and worked for a short time. 

"Thanks to the generosity of donors under the scheme works of art are now being enjoyed by wider audiences benefitting the public and the museums themselves." 

Alan Davey, Chief Executive, Arts Council England, said: "In less than a year the Cultural Gifts Scheme has secured the donation of three important objects of cultural importance for the public - an impressive feat. This generous donation comes hot on the heels of John Lennon's lyrics and an early Van Gogh painting which were gifted to the British Museum and National Gallery respectively. 

"This scheme doesn't just benefit the institutions which receive these significant objects but, most importantly, it also gives the wider public the opportunity to experience and enjoy them. I hope more people are inspired to donate to this scheme as it develops and grows." 

The gift arrives at the Holburne just before the Museum opens an exhibition of the works of Joseph Wright of Derby, 25 January to 5 May 2014. 

Alexander Sturgis, Director of the Holburne said, ‘It is always a huge pleasure to welcome a work into the collection and even more so when they come as a gift. Joseph Wright's portrait is particularly special and could not be better timed as its arrival coincides with our exhibition exploring this great artist's time in Bath. It is also an exceptional generous gift from David Posnett who did so much as Chairman of the Holburne to drive through our new building and has now provided a work to hang on its walls. "

The Rt Hon Don Foster, MP for Bath commented, "The Cultural Gift Scheme is a great initiative and I am delighted that the Holburne is a major beneficiary of it. David Posnett OBE worked wonders for the museum when he was its Chairman, not least in securing the magnificent extension. It is wonderful that even after stepping down as Chairman, his support continues. The portrait of Elizabeth Balguy will be a fitting complement to the Museum's Joseph Wright of Derby exhibition. Bath owes a big debt of gratitude to David Posnett." 

Zelfportret met hoed met slappe rand en geborduurde mantel, Rembrandt van Rijn, 1631.

AMSTERDAM.- Seven new volumes in the Hollstein series on the work of the most influential etcher of all time, Rembrandt van Rijn, were published today. Rijksmuseum curator Erik Hinterding and Jaco Rutgers travelled the world to examine more than 18,000 impressions made from all 315 etchings produced by the artist between 1625 and 1665. In the course of their research, they made some unexpected discoveries about the etching techniques used by Rembrandt. As a result, we now know more about his etching and we can determine, for example, whether Rembrandt actually printed an etching himself or whether it was done much later. Together, the seven new volumes weigh approximately 10kg and cost €330 per volume. The Hollstein series accurately catalogues Dutch etching and engraving by individual artists in the period from 1450 to 1700. Since 1949, some 139 volumes have already been published. 

Platinum, 18 karat rose gold, pink diamond and diamond ring. Photo Sotheby's

Set with a heart-shaped Very Light Pink diamond weighing 5.20 carats, framed and accented by small round near colorless diamonds weighing approximately .40 carat, size 5¾. Estimation 225,000 — 275,000 USD

Accompanied by GIA report no. 1122766374 stating that the diamond is Very Light Pink, Natural Color, VS2 clarity.

Sotheby's. Important Jewels . New York | 06 févr. 2014 - www.sotheby's.com

18 karat white gold, diamond and colored diamond ring. Photo Sotheby's

Centering a round diamond weighing 4.45 carats, framed by diamonds of yellow hue weighing 1.17 carats, size 6½. Estimation 30,000 — 40,000 USD

Please note that the diamonds have not been tested for natural origin of color.

Sotheby's. Important Jewels . New York | 06 févr. 2014 - www.sotheby's.com

18 karat two-color gold, colored diamond and diamond ring. Photo Sotheby's

Centering a round Light Pink diamond weighing 1.01 carats, framed by small round diamonds of pink hue, bordered by eight heart-shaped diamonds weighing approximately 1.50 carats, the mounting further decorated by small round near colorless diamonds weighing .48 carat, size 6. Estimation 25,000 — 35,000 USD

Accompanied by GIA report no. 2115399065 stating that the diamond is Light Pink, Natural Color.
Please note that the small round diamonds of pink hue have not been tested for natural origin of color.

Sotheby's. Important Jewels . New York | 06 févr. 2014 - www.sotheby's.com

18 karat tri-color gold, colored diamond and diamond ring. Photo Sotheby's

Of crossover design, set with a pear-shaped Fancy Yellow diamond weighing 1.37 carats and a pear-shaped Fancy Brown-Pink diamond weighing 1.17 carats, accented by single-cut near colorless diamonds weighing 1.56 carats, size 6. Estimation 20,000 — 30,000 USD

Accompanied by two GIA reports:
No. 2111716910 stating that the 1.37 carat diamond is Fancy Yellow, Natural Color, SI2 clarity.
No. 2111868059 stating that the 1.17 carat diamond is Fancy Brown-Pink, Natural Color, VS2 clarity.

Sotheby's. Important Jewels . New York | 06 févr. 2014 - www.sotheby's.com

Platinum, 18 karat gold, fancy colored diamond and diamond pendant necklace. Photo Sotheby's

The trio of heart-shaped diamonds anchored by a Fancy Intense Yellow heart-shaped diamond weighing 2.40 carats, topped by a Fancy Gray-Blue heart-shaped diamond weighing .93 carat, suspended from a Fancy Intense Purplish Pink heart-shaped diamond weighing .50 carat, accented by small round diamonds weighing approximately .60 carat, length 16 inches. Estimation 90,000 — 120,000 USD

Accompanied by three GIA reports:
No. 2151492582 stating that the 2.40 carat diamond is Fancy Intense Yellow, Natural Color, VS1 clarity.
No. 2125831999 stating that the .93 carat diamond is Fancy Gray-Blue, Natural Color, SI1 clarity.
No. 5121870526 stating that the .50 carat diamond is Fancy Intense Purplish Pink, Natural Color, SI1 clarity.

Sotheby's. Important Jewels . New York | 06 févr. 2014 - www.sotheby's.com